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Mystic Chord
In music, the mystic chord or Prometheus chord is a six-note synthetic chord and its associated scale, or pitch collection; which loosely serves as the harmonic and melodic basis for some of the later pieces by Russian composer Alexander Scriabin. Scriabin, however, did not use the chord directly but rather derived material from its transpositions. When rooted in C, the mystic chord consists of the pitch classes: C, F, B, E, A, D. This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths. However, the chord may be spelled in a variety of ways, and it is related to other pitch collections, such as being a hexatonic subset of the overtone scale, lacking the perfect fifth. Nomenclature The term "mystic chord" appears to derive from Alexander Scriabin's intense interest in Theosophy, and the chord is imagined to reflect this mysticism. It was coined by Arthur Eaglefield Hull in 1916."Skrya ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root (chord)
In music theory, the concept of root is the idea that a chord can be represented and named by one of its notes. It is linked to harmonic thinking—the idea that vertical aggregates of notes can form a single unit, a chord. It is in this sense that one speaks of a "C chord" or a "chord on C"—a chord built from C and of which the note (or pitch) C is the root. When a chord is referred to in Classical music or popular music without a reference to what type of chord it is (either major or minor, in most cases), it is assumed a major triad, which for C contains the notes C, E and G. The root need not be the bass note, the lowest note of the chord: the concept of root is linked to that of the inversion of chords, which is derived from the notion of invertible counterpoint. In this concept, chords can be inverted while still retaining their root. In tertian harmonic theory, wherein chords can be considered stacks of third intervals (e.g. in common practice tonality), the root ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexachord
In music, a hexachord (also hexachordon) is a six- note series, as exhibited in a scale ( hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the gr, ἑξάχορδος, compounded from ἕξ (''hex'', six) and χορδή (''chordē'', string f the lyre whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). Middle Ages The hexachord as a mnemonic device was first described by Guido of Arezzo, in his ''Epistola de ignoto cantu''. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ''ut'', ''re'', ''mi'', ''fa'', ''sol'', and ''la'', with the semitone between ''mi'' and ''fa''. These six names are derived fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Whole Tone Scale
In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or '' hexatonic'' scales. A single whole-tone scale can also be thought of as a "six-tone equal temperament". : : The whole-tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, ndthe scale creates a blurred, indistinct effect". This effect is especially emphasised by the fact that triads built on such scale tones are all augmented triads. Indeed, all six tones of a whole-tone scale can be played simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole-tone scales do not give a strong impression of the tonic or tonality. The composer Olivier Messiaen called the whole-tone scale his first mode of limited transposition. The composer and m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octatonic Scale
An octatonic scale is any eight- note musical scale. However, the term most often refers to the symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory (in contrast to jazz theory), this symmetrical scale is commonly called the ''octatonic scale'' (or the ''octatonic collection''), although there are a total of 42 enharmonically non-equivalent, transpositionally non-equivalent eight-note sets. The earliest systematic treatment of the octatonic scale was in Edmond de Polignac's unpublished treatise "Étude sur les successions alternantes de tons et demi-tons (Et sur la gamme dite majeure-mineure)" (''Study of the Succession of Alternating Whole Tones and Semitones (and of the so-called Major-Minor Scale)'') from c. 1879, which preceded Vito Frazzi's ''Scale alternate per pianoforte'' of 1930 by a full half-century. Nomenclature In Saint Petersburg at the turn of the 20th century, this scale had become so familiar in the circle of c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented Sixth Chord
In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods. Conventionally used with a predominant function ( resolving to the dominant), the three most common types of augmented sixth chords are usually called the ''Italian sixth'', the ''French sixth'', and the ''German sixth''. Augmented sixth interval The augmented sixth interval is typically between the sixth degree of the minor scale, , and the raised fourth degree, . With standard voice leading, the chord is followed directly or indirectly by some form of the dominant chord, in which both and have resolved to the fifth scale degree, . This tendency to resolve outwards to is why the interval is spelled as an augmented sixth, rather than enharmonically as a minor seventh ( and ). ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jim Samson
Thomas James Samson, FBA (born 1946), commonly known as Jim Samson, is a musicologist, music critic and retired academic. Educated at Queen's University Belfast (BMus) and University College, Cardiff ( MMus, PhD), he was appointed to a research fellowship at the University of Leicester in 1972. He moved to the University of Exeter in 1973 as a lecturer; promotions followed, to reader in 1987 and Professor of Musicology in 1992. In 1994, he was appointed Stanley Hugh Badock Professor of Music at the University of Bristol, and was then Professor of Music at Royal Holloway, University of London, between 2002 and 2011."Samson, Prof. Thomas James (Jim)" ''Who's Who'' (online edition, University of Oxford, December 2018). Retrieved 18 November 2018. Honours and ...
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Richard Taruskin
Richard Filler Taruskin (April 2, 1945 – July 1, 2022) was an American musicologist and music critic who was among the leading and most prominent music historians of his generation. The breadth of his scrutiny into source material as well as musical analysis that combines sociological, cultural, and political perspectives, has incited much discussion, debate and controversy. He regularly wrote music criticism for newspapers including ''The New York Times''. He researched a wide variety of areas, but a central topic was the Russian music of the 18th century to present day. Other subjects he engaged with include the theory of performance, 15th-century music, 20th-century classical music, nationalism in music, the theory of modernism, and analysis. He is best known for his monumental survey of Western classical music, the six-volume '' Oxford History of Western Music''. He received several awards, including the first Noah Greenberg Award from the American Musicological Society i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gnostic
Gnosticism (from grc, γνωστικός, gnōstikós, , 'having knowledge') is a collection of religious ideas and systems which coalesced in the late 1st century AD among Jewish and early Christian sects. These various groups emphasized personal spiritual knowledge (''gnosis'') above the orthodox teachings, traditions, and authority of religious institutions. Gnostic cosmogony generally presents a distinction between a supreme, hidden God and a malevolent lesser divinity (sometimes associated with the Yahweh of the Old Testament) who is responsible for creating the material universe. Consequently, Gnostics considered material existence flawed or evil, and held the principal element of salvation to be direct knowledge of the hidden divinity, attained via mystical or esoteric insight. Many Gnostic texts deal not in concepts of sin and repentance, but with illusion and enlightenment. Gnostic writings flourished among certain Christian groups in the Mediterranean world ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pleroma
Pleroma ( grc-koi, πλήρωμα, literally "fullness") generally refers to the totality of divine powers. It is used in Christian theological contexts, especially in Gnosticism. The term also appears in the Epistle to the Colossians, which is traditionally attributed to Paul the Apostle. The word is used 17 times in the New Testament. The word literally means "fullness", from the verb (, "to fill"), from ( πλήρης, "full"). Svenska Akademiens ordbok, search on the word ''Pleroma'/ref> Christianity New Testament The word itself is a relative term, capable of many shades of meaning, according to the subject with which it is joined and the antithesis to which it is contrasted. It denotes the result of the action of the verb ''pleroun;'' but ''pleroun'' is either *to fill up an empty thing (''e.g.'' ), or *to complete an incomplete thing (''e.g.'' ); and the verbal substantive in -''ma'' may express either #the objective accusative after the verb, 'the thing filled or c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leonid Sabaneyev
Leonid Leonidovich Sabaneyev or Sabaneyeff or Sabaneev (russian: Леони́д Леони́дович Сабане́ев) (3 May 1968) was a Russian musicologist, music critic, composer and scientist. He was the son of Leonid Pavlovich Sabaneyev, a famous hunting expert, and his brother Boris was also a musician. Biography Leonid Sabaneyev was born in Moscow in 1881 and his musical studies were under Nikolai Rimsky-Korsakov, Sergei Taneyev, Nikolai Zverev and Paul de Schlözer at the Moscow Conservatory. He graduated in mathematics and physics from Moscow University in 1908. He wrote some early works, such as incidental music to ''King Oedipus'' (1889), a ''Funeral March in Memory of Beethoven'', two trios (including a Trio-Impromptu for violin, cello and piano, Op. 4), piano pieces (including a Piano Sonata, Op. 15) and songs. He then made a special study of Alexander Scriabin, and became an authority on that composer (see synthetic chord). His first book on Scriabin was p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Poem Of Fire
''The'' () is a grammatical article in English, denoting persons or things already mentioned, under discussion, implied or otherwise presumed familiar to listeners, readers, or speakers. It is the definite article in English. ''The'' is the most frequently used word in the English language; studies and analyses of texts have found it to account for seven percent of all printed English-language words. It is derived from gendered articles in Old English which combined in Middle English and now has a single form used with pronouns of any gender. The word can be used with both singular and plural nouns, and with a noun that starts with any letter. This is different from many other languages, which have different forms of the definite article for different genders or numbers. Pronunciation In most dialects, "the" is pronounced as (with the voiced dental fricative followed by a schwa) when followed by a consonant sound, and as (homophone of pronoun ''thee'') when followed by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arthur Eaglefield Hull
Arthur Eaglefield Hull (10 March 1876 – 4 November 1928) was an English music critic, writer, composer and organist.Arthur Eaglefield Hull ( Sibley Music Library – 7 September 2010). He was the founder of the British Music Society.Alexandre Guilmant. Organ sonatas '. Courier Corporation; 1913. . p. 137–. Early life and education Born in near Market Harborough, Hull was ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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